Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malawi and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing La Düsseldorf to the techno kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Kenny Larkin. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Crime,
Throbbing Gristle,
Liliput,
The Durutti Column,
the Slits,
Electric Prunes,
AZ,
Thinking Fellers Union Local 282,
Index,
New York Dolls,
Circle Jerks,
Kenny Larkin,
John Coltrane,
Radiopuhelimet,
Rowland S Howard / Lydia Lunch,
Ajijia Myrayebe,
Roger Hodgson,
Patti Smith,
Brick,
Max Romeo,
Lou Christie,
8 Eyed Spy,
Soulsonic Force,
Glambeats Corp.,
Hot Snakes,
The Busters,
The Mojo Men,
Ronnie Foster,
Lonnie Liston Smith,
The Happenings,
Eve St. Jones,
Alison Limerick,
The Cramps,
Peter and Kerry,
The Slits,
Kerri Chandler,
Andrew Hill,
Marine Girls,
Yellowson,
Major Organ And The Adding Machine,
Harry Pussy,
The Monks,
Sonny Sharrock,
Archie Shepp,
Ornette Coleman,
Don Cherry,
Gil Scott Heron,
Slave,
Accadde A,
The Cosmic Jokers,
These Immortal Souls,
The Evens,
Talk Talk,
The Grass Roots,
The Dead C,
Television,
Darondo,
EPMD,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.